Chart Beat
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Francesca Battistelli scores her sixth No. 1 on Billboard’s Christian Airplay chart as her holiday single “Carolin’” jingles to the top of the Dec. 31-dated tally.
The song increased by 4% to 1.7 million audience impressions Dec. 16-22, according to Luminate. (As previously reported, this week marks a switch to a Friday-through-Thursday tracking schedule for Billboard’s individual-format airplay charts.)
Battistelli, who is based in Columbia, Tenn., co-penned “Carolin’” with Mia Fields and Seth Mosley.
“What a fun Christmas present to hear that ‘Carolin’’ is connecting with people like this,” Battistelli told Billboard after hearing the news of her latest coronation. “It’s a special song for me for several reasons. I wrote it with two of my favorite writer friends; singing carols is one of my favorite things about Christmas; and, last but certainly not least, my sweet daughter Audrey sang background vocals with me on it! I am humbled and honored that this song is being enjoyed by so many people.”
Battistelli tops Christian Airplay for the first time since “Messiah” led for a week in January 2018. In between that leader and “Carolin’” (her 13th top 10 as well as her sixth No. 1), her “The Breakup Song” hit No. 9 in November 2018, followed by “Defender” (No. 12, November 2019), “This Could Change Everything” (No. 25, August 2020), “Behold Him” (No. 12, December 2020), “Rudolph the Red-Nosed Reindeer” (No. 36, last holiday season) and “God Is Good” (No. 25, this March).
Battistelli first reached Christian Airplay with “I’m Letting Go,” which rose to No. 3 in July 2008. She first led the list with “Free to Be Me” for four weeks in April-May 2009.
Morgan Wallen makes history on Billboard’s Country Airplay chart as “You Proof” leads the list (dated Dec. 31) for an unprecedented ninth week.
The song, released on Big Loud Records, dethrones two titles that dominated Country Airplay — which began in January 1990 — for eight frames each: Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (2003) and Lonestar’s pop crossover hit “Amazed” (1999).
In the tracking week ending Dec. 22, “You Proof” increased by 2% to 25.4 million audience impressions, according to Luminate. (As previously reported, this week marks a switch to a Friday-through-Thursday tracking schedule for Billboard’s individual-format airplay charts.)
“Breaking this record is simply a testament to a huge song and Morgan continuing to evolve and strengthen as a vital artist to country radio,” Big Loud vice president of promotion Stacy Blythe tells Billboard. “It also shows the consistent work ethic of the Big Loud radio team and support from radio. There were a lot of folks who stepped up on a holiday week to help us get here and it’s not taken for granted.”
Wallen co-wrote “You Proof,” a stand-alone single that in October became his seventh No. 1 on Country Airplay, with ERNEST, Ashley Gorley, Keith Smith and Charlie Handsome, the lattermost of whom also produced it with Joey Moi.
Meanwhile, Wallen’s “Thought You Should Know,” also a non-album single, pushes 11-10 on Country Airplay (16.4 million, up 14%). The song, which Wallen co-authored, becomes his eighth top 10 on the tally, while he boasts concurrent top 10s for the first time.
Another new Wallen track, “One Thing at a Time,” enters Country Airplay at No. 59 (576,000, up 56%). The song launched on the multi-metric Hot Country Songs chart dated Dec. 17 at No. 2; with “You Proof” at No. 1 and Wallen’s “Wasted on You” at No. 3 that week, he became the first act ever to monopolize the survey’s top three in a single frame.
Vince Guaraldi Trio’s evergreen soundtrack to A Charlie Brown Christmas hits a new peak on Billboard’s Top Album Sales chart, as the set rises 5-2 (on the list dated Dec. 24). That surpasses its previous high, notched just a week ago, when the album rose 7-5, beating its earlier peak of No. 6, achieved last holiday season (Dec. 18, 2021).
The companion album to the 1965 animated TV special sold 17,000 copies in the U.S. in the week ending Dec. 15 (up 24%), according to Luminate. Most of that sum (14,000) is driven by vinyl album sales. A Charlie Brown Christmas is available across more than 15 vinyl variants (most differing in the color of its vinyl LP), including versions exclusive to Barnes & Noble, Newbury Comics, independent record stores, Target, Urban Outfitters, Vinyl Me, Please and Walmart.
A Charlie Brown Christmas is a consistent strong performer on vinyl, as it was the top-selling holiday album on vinyl annually in the U.S. from 2012 through 2021.
Since Luminate began tracking music sales in 1991, A Charlie Brown Christmas has sold 4.3 million in traditional album sales across all formats (CD, vinyl, cassette, digital download album, etc.), with 469,000 of that sum in vinyl LP sales.
Also in the top 10 of the new Top Album Sales chart, Taylor Swift’s Midnights holds at No. 1 for a eighth week in a row — the most weeks at No. 1 since Adele’s 30 also spent its first eight weeks atop the list a year ago). Meanwhile, Zach Bryan’s American Heartbreak reaches a new peak as it re-enters the chart at No. 4 following its release on vinyl.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
A Charlie Brown Christmas was released in 1965 but did not reach any Billboard ranking until 1987, when it debuted on the Top Holiday Albums chart, where it later peaked at No. 2 (Jan. 27, 2007). On the Billboard 200 chart, the set reached a new peak last season, climbing to No. 6 on the list dated Jan. 1, 2022. A year prior, it reached the top 10 for the first time (No. 10 on the Jan. 2, 2021 chart).
The A Charlie Brown Christmas TV special aired annually on CBS during the holiday season from 1965 through 2000. ABC picked up the rights to the show from 2001-19. In 2020, the Apple TV+ subscription service acquired the rights to the special – along with other classic animated Peanuts programs. A Charlie Brown Christmas is one of many animated TV specials based on the Peanuts comic characters. It was followed by familiar favorites like It’s the Great Pumpkin, Charlie Brown (1966) and A Charlie Brown Thanksgiving (1973).
A Charlie Brown Christmas made its Apple TV+ premiere on Dec. 4, 2020. Apple initially teamed with PBS to bring the special back to free over-the-air TV with commercial-free airings on PBS and sister network PBS KIDS in 2020 and 2021. In 2022, Apple TV+ and PBS did not collaborate on a Peanuts presentation. Instead, Apple TV+ offered free limited time screenings of three Peanuts specials for anyone that logs into the service using their Apple ID. It’s the Great Pumpkin, Charlie Brown was available free between Oct. 28-31, followed by A Charlie Brown Thanksgiving on Nov. 23-27 and A Charlie Brown Christmas on Dec. 22-25.
At No. 1 on Top Album Sales, Taylor Swift’s Midnights spends an eighth week in a row on top – the most weeks at No. 1 since Adele’s 30 also led for its first eight weeks on the list (Dec. 24, 2021-Jan. 22, 2022 charts). Midnights has spent more weeks at No. 1 than any other Swift album since 1989 logged 10 nonconsecutive weeks in charge (2014). Since 1989, she scored seven more No. 1s albums, including Midnights.
In the latest tracking week, Midnights sold 74,000 copies – up 10%. Its cumulative U.S. sales stand at 1.666 million.
Harry Styles’ former No. 1 Harry’s House falls 2-3 with 16,000 sold (down 41%).
Zach Bryan’s American Heartbreak hits a new peak as it re-enters Top Album Sales at No. 4 following its release on vinyl. The album sold 15,000 copies in the tracking week – up 956% – with 14,000 of that sum on vinyl. American Heartbreak was released on May 20 via digital download and CD (as well as through streaming services). Its vinyl LP – a triple LP set – was not released until Dec. 9. (Unlike the many vinyl variants of the Charlie Brown Christmas album, Bryan’s set was only available in one standard black vinyl edition.)
American Heartbreak previously spent one week on Top Album Sales, debuting at No. 7 on the June 4-dated chart with 6,000 sold in its first week of availability.
Matteo, Andrea and Virginia Bocelli’s A Family Christmas falls 3-5 on Top Album Sales with 14,000 sold (down 40%), Michael Jackson’s Thriller rises 7-6 with 13,000 (up 7%), Fleetwood Mac’s Rumours climbs 8-7 with nearly 13,000 (up 8%) and Swift’s former No. 1 Evermore bumps 12-8 with 12,000 (up 21%). Rounding out the new top 10 are Michael Bublé’s former leader Christmas, ascending 11-9 with nearly 10,000 (down 5%) and The Beatles’ Revolver, jumping 14-10 with 9,000 (up 21%).
In the week ending Dec. 15, there were 2.911 million albums sold in the U.S. (up 11.9% compared to the previous week). That’s the biggest week of 2022 and the largest for album sales since the week ending Dec. 23, 2021, when 4.231 million were sold.
In the week ending Dec. 15, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 2.526 million (up 14.7%) and digital albums comprised 375,000 (down 4.2%).
There were 1.001 million CD albums sold in the week ending Dec. 15 (up 7.7% week-over-week) and 1.521 million vinyl albums sold (up 20.1%). Both represent the largest sales weeks for each album format in 2022. Volume was last larger for both in the week ending Dec. 23, 2021, when there were 1.584 million CD albums sold and 2.113 million vinyl albums sold.
Further, the 1.521 million vinyl albums sold in the week ending Dec. 15 marks the third-largest week for vinyl since Luminate began tracking sales in 1991. (The largest week in the Luminate era for vinyl was the week ending Dec. 23, 2021.)
Year-to-date CD album sales stand at 33.822 million (down 11.3% compared to the same time frame a year ago) and year-to-date vinyl album sales total 39.659 million (up 3.5%).
Overall year-to-date album sales total 93.462 million (down 8.5% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 74.013 million (down 3.8%) and digital album sales total 19.450 million (down 22.7%).
GloRilla and Cardi B’s collaboration “Tomorrow 2” hits No. 1 on Billboard’s R&B/Hip-Hop Airplay chart (dated Dec. 24). The song rises from No. 2 to top the list after a 6% boost to 21.1 million audience impressions made it the most-heard song on U.S. monitored R&B/hip-hop radio stations in the week ending Dec. 18, according to Luminate.
Through the new leader, GloRilla captures her first No. 1 on the list. Her sole prior entry, the viral hit “F.N.F. (Let’s Go)” with Hitkidd, reached a No. 3 peak in August.
For Cardi B, “Tomorrow 2” becomes the hitmaker’s fifth on R&B/Hip-Hop Airplay. She previously led with this slate of chart-toppers:
“Bodak Yellow (Money Moves),” 10 weeks at No. 1, beginning Sept. 30, 2017“No Limit,” G-Eazy featuring A$AP Rocky & Cardi B, six, Dec. 23, 2017“Money,” nine, Feb. 2, 2019“Please Me,” with Bruno Mars, 11, April 6, 2019
Plus, the combined might of both rappers yields only the fourth all-female collaboration to reach No. 1 out of 297 total leaders on R&B/Hip-Hop Airplay since the chart’s launch in 1992. Brandy and Monica inaugurated the club with the smash single “The Boy Is Mine,” which ruled for five weeks in 1998. In 2007, Keyshia Cole recruited Missy Elliott and Lil Kim as featured acts for the track “Let It Go,” a four-week champ that year, and in 2020, Megan Thee Stallion’s “Savage,” featuring Beyoncé, became the third entrant into the league and spent three weeks atop the list.
Of note, there’s one more instance of multiple female acts on R&B/Hip-Hop Airplay No. 1, though it isn’t an all-women billing. In 2001, Ja Rule’s “Put It on Me,” featuring Lil Mo and Vita, posted six weeks in charge.
Beyond its R&B/Hip-Hop Airplay coronation, “Tomorrow 2” retains its standing to claim a fourth week at No. 1 on the Mainstream R&B/Hip-Hop Airplay chart as the most-played song on U.S. monitored R&B/hip-hop radio stations. There, it continues to improve, with 5% more plays in the tracking week ending Dec. 18 than the prior seven-day period. Similarly, it wins a third term atop Rap Airplay after a 7% audience boost in the same tracking window.
On Rhythmic Airplay, meanwhile, the collaboration ascends 8-7 thanks to a 9% gain in weekly plays at the format. Success at all the formats helps the song maintain its No. 15 peak thus far on the all-genre Radio Songs chart for a second straight week, where, despite its static position, “Tomorrow 2” increased 5% in audience impressions to reach 31.9 million for the week ending Dec. 16.
Martin Garrix and JVKE jump onto Billboard‘s multi-metric Hot Dance/Electronic Songs chart (dated Dec. 24) with “Hero” at No. 13. The track earned 1.1 million U.S. streams in the Dec. 9-15 tracking week, according to Luminate.
“Hero” marks the 51st charted title for Garrix (and the second for JVKE), tying him with The Chainsmokers for the fourth-most among all acts, dating to the chart’s January 2013 inception, after only David Guetta (73), Kygo (61) and Marshmello (53).
At No. 14, another pairing debuts, as Mallrat (aka Australian singer Grace Shaw) and The Chainsmokers start with “Wish on an Eyelash 2.” Mallrat’s first appearance, “Wish,” as noted above, ups The Chainsmokers’ career count to 51.
The song, in keeping with The Chainsmokers’ recent lo-fi sound highlighted on its October release So Far So Good (Lofi Remixes), opens with 1 million streams. The track is a newly recorded, collaborative version of Mallrat’s “Wish on an Eyelash,” released on her Butterfly Blue LP. (The set started at No. 6 on the Australian Albums chart in May.)
Additionally on Hot Dance/Electronic Songs, Kx5 (Kaskade and Deadmau5) and Elderbrook enter at No. 25 with “When I Talk.” Kx5’s fourth charted title is its second-highest ranking, after “Escape,” featuring Hayla (No. 11, June). Also Elderbrook’s seventh chart hit, “Talk” took in 575,000 streams, with Kx5 having performed at Los Angeles Memorial Coliseum Dec. 10.
Shifting to the Dance/Mix Show Airplay chart, David Guetta and Bebe Rexha return to the top (after three weeks below) for a sixth total frame with “I’m Good (Blue)” (2-1). The song ties Guetta’s 2009 No. 1 “Sexy Chick,” featuring Akon, as his second-longest-leading hit; only his “When Love Takes Over,” featuring Kelly Rowland, spent more weeks at the summit (nine, 2009). Guetta is tied with Calvin Harris and Rihanna for the most No. 1s — 12 each — since the list began in August 2003.
“Good” is garnering core-dance attention at outlets including SiriusXM’s BPM, Music Choice’s Dance/EDM channel and KMVQ-HD2 San Francisco. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
The track also continues at No. 1 on Hot Dance/Electronic Songs for a 13th week and Dance/Electronic Streaming Songs and Dance/Electronic Digital Song Sales for a 14th frame each, as it drew 68.8 all-format million radio airplay audience impressions and 10 million streams and sold 4,000 downloads.
Revisiting Dance/Mix Show Airplay, Rêve rides to her first top 10 on any U.S.-based Billboard chart with “Whitney” (15-10). The more pop-leaning original version of the song, which references Whitney Houston’s cover of Chaka Khan’s “I’m Every Woman,” received a dance radio-friendly remix from Essel Nov. 18.
Official HIGE DANdism’s “Subtitle” continues to dominate the Billboard Japan Hot 100, dated Dec. 21, holding at No. 1 for the seventh week.
The theme of the highly acclaimed drama series silent is still going strong in streaming, logging 17,468,383 weekly streams to extend its record at No. 1 for the metric to nine consecutive weeks and 15,910 downloads to stay at No. 1 for the sixth non-consecutive week. It’s also performing well in video with 2,878,313 views to hold at No. 2, and moves up a notch to No. 5 for karaoke.
Kis-My-Ft2’s “Omoibana” ruled physical sales this weeks with 248,255 copies sold, more than the Johnny’s group’s previous single, “Two as One,” which launched with 173,309 copies. But the boy band’s 30th single couldn’t supplement that advantage with other metrics — No. 2 for radio, No. 56 for streaming, and No. 73 for video — and couldn’t overtake Kenshi Yonezu’s “KICK BACK,” which came in at No. 2 for streaming and No. 3 for video. Yonezu rises 3-2, while Kis-My-Ft2 debuts at No. 3 on the Japan Hot 100 this week.
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The global popularity of the Netflix series First Love starring Hikari Mitsushima and Takeru Sato continues to fuel Hikaru Utada’s “First Love,” which soars by about 200 percent from the previous week to 3,879 downloads (84-15), 15 percent for streaming to 7,792,651 streams (6-3), and also rises in video, radio and karaoke. The resurgent J-pop hit originally released in 1999 rises 7-5 on the Japan Hot 100 this week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.
Check out the full Billboard Japan Hot 100 chart, tallying the week from Dec. 12 to 18, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
SZA reaches No. 1 on Billboard’s Streaming Songs chart for the first time thanks to “Kill Bill,” which debuts atop the Dec. 24-dated tally.
“Bill” bows with 36.9 million official U.S. streams earned in the Dec. 9-15 tracking week, according to Luminate.
Her first ruler eclipses the No. 2 peaks of “Good Days” (2020), her featured credit on Doja Cat’s “Kiss Me More” (2021) and Summer Walker co-bill “No Love” (2021).
“Bill” is the first non-holiday song to reign on Streaming Songs past the first week of December (and before January) since 2018, when Ariana Grande‘s “Thank U, Next” ruled for the entire month of December.
SZA first made the chart — which began in 2013 — with “Love Galore,” featuring Travis Scott. That track peaked at No. 27 in 2017.
In all, four songs from SZA’s new album SOS reach Streaming Songs’ top 10, with “Bill” joined by “Nobody Gets Me” (No. 6, 25.1 million streams), “Blind” (No. 8, 24.4 million) and “Low” (No. 10, 22.3 million). Of the Dec. 24-dated top 10, only SZA’s entries are non-holiday songs.
A total of 19 songs from SOS appear on the Dec. 24 ranking, giving SZA a tie for the second-most simultaneous appearances by a woman in the chart’s history, alongside Taylor Swift’s 19 on the Nov. 27, 2021, list upon the release of the album Red (Taylor’s Version). Only Swift boasts more, with 20 achieved on the Nov. 5, 2022, ranking, after the debut of the album Midnights.
Concurrently, “Bill” starts atop R&B/Hip-Hop Streaming Songs and R&B Streaming Songs. It’s her fourth ruler on the former, following “Days,” “Love” and “I Hate U,” and her seventh on the latter, with the aforementioned four joined by “The Weekend,” “All the Stars” (alongside Kendrick Lamar) and “Hit Different,” featuring Ty Dolla $ign.
One other song from SOS reigns on a genre-based streaming chart: the pop-punk-esque “F2F,” which becomes her first to reign on Alternative Streaming Songs (13.7 million streams).
As previously reported, “Bill” is the top debut of SOS on the multi-metric Billboard Hot 100, bowing at No. 3. SOS itself also starts at No. 1 on the Billboard 200 with 318,000 equivalent album units earned.
For King & Country, the duo of siblings Joel and Luke Smallbone, notches its 12th No. 1 on Billboard‘s Christian Airplay chart (dated Dec. 24), as the pair’s version of “Joy to the World” dashes from No. 7 to the summit.
In the tracking week ending Dec. 18, “Joy” drew 1.8 million audience impressions among the chart’s panel of reporters, according to Luminate.
Here’s a recap of For King & Country’s nine Christian Airplay No. 1s: “Joy to the World” (for one week, to-date); “For God Is With Us” (three weeks, July); “Relate” (three, beginning in December 2021); “Amen” (one, July 2021); “O Come O Come Emmanuel,” featuring NEEDTOBREATHE (two, starting in December 2020); “Together,” with Kirk Franklin and Tori Kelly (five, beginning in August 2020); “Burn the Ships” (five, starting in January 2020); “God Only Knows” (10, beginning in April 2019); “joy.” (four, starting in August 2018); “Priceless” (three, October 2016); “Shoulders” (two, June 2015); and “Fix My Eyes” (one, September 2014).
Meanwhile, For King & Country’s current non-seasonal single, “Love Me Like I Am” with Jordin Sparks, also resides in the Christian Airplay top 10 — at No. 9 (1.3 million) — after reaching No. 6 the past two weeks.
With 12 Christian Airplay No. 1s, For King & Country ties Jeremy Camp and Matthew West for the second-most leaders since the chart launched in 2003. MercyMe leads all acts with 17 No. 1s.
“Joy to the World” concurrently becomes For King & Country’s milestone 20th top 10 on the multi-metric Hot Christian Songs chart, where it vaults 28-9. The act is the eighth to have notched at least 20 top 10s, with Casting Crowns, MercyMe and Chris Tomlin sharing the record with 29 each.
Rihanna conquers a new radio format with her long-awaited comeback single, “Lift Me Up.” The track, from the soundtrack to the film Black Panther: Wakanda Forever, crowns the Adult R&B Airplay list dated Dec. 24. It’s her first No. 1 — and top 10 — on the chart and her ninth charting song on the list to date.
“Lift” jumps from No. 3 after a 24% surge in plays that made it the most-played song on U.S. monitored adult R&B stations in the week ending Dec. 18, according to Luminate. Thanks to the double-digit improvement, the new champ captures the weekly Greatest Gainer honor for the biggest increase in plays among the chart’s 30 titles.
“Lift” seizes the throne from Jazmine Sullivan’s “Hurt Me So Good,” displacing the latter after two weeks in charge. “Hurt” is pushed 1-2, despite a 5% gain in plays at the format.
With “Lift,” Rihanna registers her first Adult R&B Airplay No. 1 upon her ninth appearance on the list. Before the new champ, her previous career peak was a No. 13 result from her and Bryson Tiller’s featured slots on DJ Khaled’s “Wild Thoughts” in 2018. As a lead act, her prior best was her maiden entry, “Take a Bow,” which reached No. 21 in 2008.
Elsewhere, “Lift” continues its run across several other formats. It repeats at No. 5 on the R&B/Hip-Hop Airplay chart, where it registered 17.1 million in weekly audience impressions, an 18% upswing from the prior week. With that boost, the single captures that chart’s Greatest Gainer honor, too. On Rhythmic Airplay, it holds at its No. 6 peak thus far, though it gained 3% in weekly plays in the latest tracking week. The single moves 9-8 on the Mainstream R&B/Hip-Hop Airplay chart to return to its peak, first reached two weeks ago, and added 5% more plays. And though it slides 14-17 on Adult Pop Airplay, “Lift” registered a 4% bump in weekly plays at that format.
One week after SZA’s first anniversary at No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart, the singer-songwriter returns to the summit for her second career chart-topper thanks to “Kill Bill.” The track debuts at No. 1 on the list dated Dec. 24 and is one of seven SZA titles in the top 10, all from her new album, SOS.
“Kill Bill” traces its chart-topping start largely to 36.9 million official U.S. streams in the week ending Dec. 15, according to Luminate, for a No. 1 opening on the R&B/Hip-Hop Streaming Songs chart. The track also sold 1,000 downloads in the same period and pulled 22,000 in radio audience impressions. The low radio audience is due to the song not being an actively promoted single to radio stations — “Shirt” is the current track at R&B/hip-hop stations, while “Nobody Gets Me” is targeted toward the pop and rhythmic sectors.
Before “Kill Bill,” SZA reigned on the Hot R&B/Hip-Hop Songs chart with “I Hate U,” which likewise earned its chart-topping rule by debuting in the top slot. The single arrived in the penthouse on the chart dated Dec. 18, 2021, and led for one week. As both “I Hate U” and “Kill Bill” appear on SOS, the album is the first to yield two Hot R&B/Hip-Hop Songs leaders since The Weeknd’s After Hours sparked No. 1s in “Heartless” and “Blinding Lights.”
SOS also arrives with chart-topping accolades. The set storms in at No. 1 on the all-genre Billboard 200, Top R&B/Hip-Hop Albums and Top R&B Albums charts with 318,000 equivalent album units. Of that sum, 310,000 units derive from streaming — equal to 404.6 million official on-demand U.S. streams for the album’s songs, a new one-week record for any R&B album. On the former two charts, SOS grants SZA her first No. 1, while she picks up her second on the lattermost, after Ctrl reigned in 2017 upon its original release and again, earlier this year, following its deluxe edition’s premiere on the set’s fifth anniversary.
“Kill Bill” leads a parade of SZA cuts onto Hot R&B/Hip-Hop Songs, with seven tracks in the top 10 and 20 on the chart overall. Here’s a rundown of all her placements this week:
No. 1, “Kill Bill”No. 2, “Nobody Gets Me”No. 3, “Blind”No. 6, “Low”No. 7, “Shirt”No. 8, “Love Language”No. 9, “Seek & Destroy”No. 11, “Snooze”No. 12, “Used,” featuring Don ToliverNo. 13, “SOS”No. 16, “Special”No. 17, “Ghost in the Machine,” featuring Phoebe BridgersNo. 19, “Gone Girl”No. 20, “Notice Me”No. 23, “Smoking on My Ex Pack”No. 24, “Open Arms,” featuring Travis ScottNo. 27, “Conceited”No. 29, “Far”No. 30, “Too Late”No. 35, “Forgiveless,” featuring Ol’ Dirty Bastard
Plus, in addition to “I Hate U,” another prior SOS single, “Good Days,” reached No. 3 in 2021.
The SZA takeover also extends to the Hot R&B Songs chart, where the hitmaker posts eight tracks in the top 10 and 18 songs on the 25-position list. “Bill” leads the pack and becomes her third No. 1 on the list, after “The Weekend” and “I Hate U” each ruled for one week in, respectively, 2018 and 2021.